The Dead

 

Director John Huston

Huston on the set with his son Tony

author James Joyce, 1904

THE DEAD                A                                                                                                            Great Britain  Ireland  USA  (83 mi)  1987  d: John Huston

A few light taps upon the pane made him turn to the window.  It had begun to snow again.  He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight.  The time had come for him to set out on his journey westward.  Yes, the newspapers were right: snow was general all over Ireland.  It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves.  It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried.  It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns.  His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.

—James Joyce The Dead, last short story from Dubliners, originally written in 1904, with this longer story added in 1907, not published until 1914, The Dead by James Joyce

John Huston began his career as a screenwriter, and one of the obvious strengths of his work is his attention to dialogue, relying heavily upon literary adaptations as a director, where the great majority of his 36 features, and certainly his best-known ones, were drawn from novels, short stories, or plays, with Huston awarded an honorary degree of Doctor of Literature from Trinity College Dublin.  In his storied career, one need only think of THE MALTESE FALCON (1941), a Dashiell Hammett novel, THE TREASURE OF THE SIERRA MADRE (1948), an adventure novel by B. Traven, KEY LARGO (1948), based on a Maxwell Anderson play, THE ASPHALT JUNGLE (1950), a W.R. Burnett novel, THE AFRICAN QUEEN (1951), a C.S. Forester novel, MOBY DICK (1956), a Herman Melville novel, The Misfits, (1961), written by playwright Arthur Miller, THE MAN WHO WOULD BE KING (1975), a Rudyard Kipling short story, and WISE BLOOD (1979), a Flannery O’Connor novel, among others, while this last and final film is an adaptation of what is perhaps James Joyce’s most perfect story from Dubliners, a collection of short stories focusing upon a series of characters connected only by the city in which they reside, written when Irish nationalism was at its peak, when a search for a national identity and purpose was paramount, made while he was sitting in a wheelchair while hooked up to an oxygen tank, on the verge of his own death (four months after shooting ended), suffering from terminal emphysema, bringing a vividly personalized atmosphere to the set.  Something of a love letter to Ireland and a merging of kindred artistic spirits, the youthful writer and the aging filmmaker, both coming to terms with their impending mortality, each wondering how they would be remembered and what they would leave behind, borrowing several biographical details from Joyce’s life, as both he and Gabriel Conroy reviewed books for the pro-British Dublin Daily Express, taught in college, became Europeanized, and were largely indifferent to the nationalistic aims of their native country.  Heavily impacted by Joyce ever since his mother smuggled him a copy from Paris during the 1920’s of the then-banned novel Ulysses, writing in his 1980 autobiography An Open Book, “It was probably the greatest experience that any book has ever given me,” actually influencing his decision to move to Ireland in 1952, thoroughly disgusted by the McCarthyist witch hunt spreading through Hollywood at the time, wanting to escape the “moral rot” ruining the lives of many of his friends in the movie industry, eventually becoming an Irish citizen.  Adapted by his son Tony Huston, with an opening dedication “For Maricela,” the director’s longtime nurse and companion Maricela Hernández, this mysteriously complex film also stars his daughter Angelica Huston, who he previously directed in PRIZZI’S HONOR (1985), winning her a Best Supporting Actress Academy Award, where the cast is all-Irish except Angelica Huston, but she grew up in Ireland, having moved there when she was just two years old, and doesn’t miss a beat, with most of the cast coming from Dublin’s Abbey Theatre company, yet what really stands out is the power of the performances.  Angelica Huston has never been so, well - - angelic, for lack of a better word, as she’s usually typecast as a much tougher person, darker and more imposingly complex, an actress whose strong onscreen physicality and elegance is hard to underestimate, yet here she plays Gretta Conroy, the wife of an academic, Gabriel Conroy (Donal McCann), modeled directly after Joyce’s wife, Nora Barnacle (also serving as Joyce’s role model for Molly Bloom in Ulysses), playing a more minor part than her husband, easily overlooked through most of the story.  While she’s outwardly kind and socially considerate, the picture of etiquette and social grace, the story turns on a dime near the end, where out of nowhere she becomes the central focus, almost by accident, as her actions suddenly influence the mood of the entire story, taking a decidedly melancholy trajectory, where all the banalities of ordinary existence and the much anticipated social pretensions, captured in all its drunken comedy and pathos, must be endured in order to appreciate the full emotional power of such a magnificently realized finale, like a beam of light streaming in opening our eyes to what the story is really driving at, suggesting a love for life can also express itself as a complicated love for the dead, becoming a labor of love so unlike Huston’s earlier films, beautifully blending in to the social setting of the turn-of-the-century era. 

Joyce had a complex relationship with Dublin, and Ireland, leaving the city for good after 1909, and after 1912 he never set foot in Ireland again, moving to Italy and then Paris where he was surrounded by like-minded contemporary writers like Marcel Proust, Ernest Hemingway, Samuel Beckett, Ezra Pound, T.S. Eliot, and W.B. Yeats, where his reasons were both deeply personal and part of broader societal trends, reflective of what he saw as the spiritual “deadness” of Dublin, while also decrying Irish society’s conservatism, censorship, religious hypocrisy, and zealous nationalism, though his spiritual and artistic engagement with the city continued until the end of his life, while according to Huston, “All I know about filmmaking is in this film.”  Written in 1907 when he was just 25 from an apartment in Trieste, Italy, more than a decade before Ulysses was published in 1922, the film is about memory, loss, and the lasting power of the dead over the living, and while it’s a faithful adaptation, there are additions not included in the original source material, reassigning numerous lines to different characters, while also introducing an entirely new character in Mr. Grace (Seán McClory), who eloquently recites an English translation of an 8th-century Middle Irish poem Donal Óg.  Taking place in Dublin in 1904, a Feast of the Epiphany dinner party, held every year 11 days after Christmas, is hosted by two spinster sisters, Kate and Julia Morkan (Helena Carroll and Cathleen Delany), and their unmarried niece, Mary Jane (Ingrid Craigie), all music teachers, as horse-drawn carriages arrive with formally-dressed guests on the snowy night, where we learn that for years the sisters have functioned as the official center of the city’s cultural world.  While Joyce’s writing provides access to Gabriel’s internal, stream-of-consciousness perspective, including his rapidly shifting observations, memories, and emotional responses, a vantage point that is practically impossible to replicate on the screen, instead Huston fluctuates between newly arriving guests, a joyous occasion seamlessly shifting the perspectives, expressing a range of disagreements among the guests, often confronted with uneasy realities, where it’s easy to get swept away by the accumulative power of the experience, yet it’s also hard not to admire his purely cinematic adaptation for its faithfulness to the time period through lighting, costumes, music, and such eloquent diction, where the acute eye for detail is impressive.  Shot by Fred Murphy, it looks utterly spectacular.  Gabriel is sarcastically teased by the fiery temperament of Molly Ivors (Maria McDermottroe), an Irish nationalist colleague who berates him for writing for The Daily Express, which she refers to as an “English rag,” suggesting he should be ashamed of himself for betraying his Irish identity, calling him a “West Briton,” “someone who looks to England for our salvation instead of depending on ourselves alone,” a reference to the political slogan of Sinn Féin, as she leaves the party early, stomping off to attend a Republican meeting.  Over the course of the festive dinner party, where guests discuss topics of musical and local interest, Mr. Browne (Dan O’Herlihy) arrives with flowers which he likens to the gifts of the Magi (which does not appear in the Joyce story), featuring plenty of music and dancing, with the men hovering around a table in the next room with the drinks, some overzealously, as guests find themselves haunted by spectral figures of an older, near-forgotten Dublin, what Huston’s friend Orson Welles characterized as a “myth of the past.”  Yet Joyce was a literary realist, depicting the sensory texture of thought and feeling, where that consciousness constitutes the essence of human life, yet the past may continually push and prod its way into the present, or may leap into our thoughts at any time, and while the characters may be prone to nostalgia, the story is not.  The festive dancing sequences mirror equally enthralling scenes in a Jane Austen novel, as they are everpresent, with audiences watching the action from behind the camera.  When the dancing subsides, Mary Grace plays a virtuosic showpiece on the piano while Aunt Julie performs a Bellini aria for the guests, though her singing voice has clearly diminished with age, as the camera peers through back rooms filled with memorabilia, a reminder of the ephemeral nature of life, while Mr. Grace reads an extraordinary recitation about a girl whose life is ruined by her passionate love for a man who promised her things he failed to deliver, only to abandon her, as if in the absence of God, Broken Vows [The Dead (John Huston, 1987)] YouTube (3:38).  While Gretta says nothing, the camera lingers on her placid countenance, thinking something only to herself, where it makes you wonder about the poem’s effect on her.     

You have taken the east from me; You have taken the west from me
You have taken what is before me and what is behind me;
You have taken the moon, you have taken the sun from me,
And my fear is great that you have taken God from me! 

Mirroring those internalized, personal reflections, the conversation turns to whatever happened to the many great operatic tenors that once flourished in Dublin, lamenting that so few are like them today, turning to the tableside expert in the matter, Bartell D’Arcy (Frank Patterson), a celebrated tenor with a sizeable reputation.  While the name Caruso is mentioned, Aunt Kate recalls someone from her youth by the name of Parkinson, a name no one else recalls, yet just thinking about him stirs something inside, her eyes glistening in tears, with the camera holding on her face in close-up.  This is the magic of memory, where the long-dead continue to live inside, haunting us in ways that nothing else can.  As the guests begin to leave, politely exchanging pleasantries, Gretta gets halfway down the stairs before she pauses, struck by what she hears, as the tenor D’Arcy is singing The Lass of Aughrim offscreen, an Irish variant of a Scottish ballad, a song that shifts back and forth between two former lovers lamenting the failings in their relationship, accentuating the imperfections and fragility of human love which lead to heartbreak and to untimely death, sending her into a prayer-like trance, framed by a stained-glass window, immaculately dressed like the Virgin Mary, with a white shawl around her neck and shoulders, representing purity in every sense of the word, The Lass of Aughrim - Frank Patterson YouTube (2:22).  A flood of memories wash over her as she listens intently, while her husband can only imagine what’s captured her attention, frozen in the moment, aware of the “grace and mystery in her attitude.”  Literally the turning point of the film, the music and storytelling of the evening awaken such intense memories, yet the couple says nothing on the carriage ride back to their hotel.  Only then, with Gabriel having hopes of getting amorous, does she finally break into tears, recalling a tragic childhood romance with a young man named Michael Furey in Galway, who used to sing that song to her, feeling responsible for his death at the age of 17, as he died under the window of her room.  “He was very delicate,” she says, revealing to her husband that Michael was very sick, but left his sick bed and stood outside her window in the cold and rain to say goodbye before she returned to Dublin, dying a week later, confessing “‘I think he died for me.”  The song opened up the floodgates of the pain that she had long repressed, serving as a catalyst which motivates her to remember something so clearly from her past, and while she clearly loves Gabriel and calls him “a very generous person,” she knows that he has never sacrificially given of himself in the way that Michael did for her, which only serves to reveal the lack of true intimacy and genuine love binding the Conroys, bringing about an emotional distance between them.  The cathartic final scene of the film leaves audiences to ponder the strange hold of the past over the present, as well as the impenetrable differences of those who are closest to us.  As Greta tearfully falls asleep in the hotel room, Gabriel is left looking out the window at the falling snow enveloped in darkness and utter solitude, struck by an all-embracing epiphany, realizing that he’s been deceiving himself for all these years, as he was neither Gretta’s first love nor her greatest love, helplessly discovering that he is less than who he thought he was.  His mind wanders to the future, imagining sitting around Aunt Julia’s deathbed, contemplating how he’ll be remembered, if at all, where his place in the world feels so impermanent.  “Better pass boldly into that other world, in the full glory of some passion, than fade and wither dismally with age.”  The final lines of voiceover dialogue spoken over orchestral refrains from The Lass of Aughrim encapsulate his severe desolation and loneliness, questioning his entire life again, reflecting on his existential existence and what it means to be alive before turning into shadows in one of the most profoundly stirring passages in all of literature, The Dead (1987) End Monologue YouTube (4:15), a fitting epitaph for Huston, where it’s hard not to be affected by the extreme intensity and literary potency of the language, mirroring Molly Bloom’s infamous stream-of-conscious soliloquy at the end of Ulysses.  A second camera operator, Scottish Michael Coulter, captures the mesmerizingly beautiful snowy landscapes, where the snow is a metaphor for the vast wasteland and hopelessness experienced by Joyce during the time period, looking out into the uncertainty of his country’s future, while Alex North’s elegiac Celtic harp music plays over both the opening and the end credits.

Watch The Dead Full Movie Online Free With English Subtitles  FShare TV (1:23:10)

Lonesome Dove — TV mini-series

LONESOME DOVE – Made for TV               B+                  

USA  (384 mi, four 90-minute installments, Pt. 1:  Leaving, Pt. II:  On the Trail, Pt. III:  The Plains, Pt. IV:  Return)  1989  d:  Simon Wincer

Gus, why not go up to Montana? It's a cattleman's paradise to hear Jake tell it.    

—Tommy Lee Jones (Woodrow F. Call)

It ain’t dyin’ I'm talkin’ about…it’s livin’.     —Robert Duvall (Augustus “Gus” McCrae)

This project started out as a Larry McMurtry movie screenplay in 1970, where Peter Bogdanovich was lined up to direct John Wayne (Captain Call), James Stewart (Gus McCrae), and Henry Fonda (Jake Spoon).  But once Wayne dropped out, supposedly at the urging of director John Ford, the rest backed out of the project as well, where eventually the screenplay was expanded to a full length novel which won the Pulitzer Prize for fiction in 1986.  After director John Huston turned down the project, and Charles Bronson, James Garner, Jon Voight, and even Robert Duvall all turned down the part of Captain Call, it was eventually turned into a television mini-series.  Considered Robert Duvall’s favorite role throughout his entire career, so that’s saying something, but this is a tragic and bittersweet saga, an epic post Civil War adventure that details the colorful interior worlds of the plentiful characters while showcasing spectacular landscapes of the vast American plains, one of the more spectacular TV mini-series to ever play on American television, largely due to the strength of the novelesque writing, adapted from the Larry McMurtry novel, that really documents the life-long friendship between two former Texas Rangers, Duvall as Augustus “Gus” McCrae and Tommy Lee Jones as Woodrow Call, known as the Captain.  While Woodrow is a severe taskmaster, a dour and emotionally distant man who continually undertakes back breaking work, Gus is his polar opposite, claiming that for all the hard work Woodrow does, he has to balance the equation by doing as little work as possible.  Both are stubborn, individualistic, tough as nails, and cantankerous men who have survived when others didn’t, proud bastions of the Old West, experts in their field and living legends of their era who are now already forgotten, having paid their dues and are expected to coast easily into the comforts of retirement.  But both are restless souls, driven by the frontier spirit of living free, and like a bank robber who needs to pull off one last heist, these guys feel the need for one more great adventure, deciding on a whim to run a cattle drive from Lonesome Dove, a tiny border town in South Texas, to Montana, a place they’ve never been, but only heard of, a good 2500 miles away where the Captain believes he’ll be the first rancher to raise cattle in Montana.  It’s a crazy idea that makes no sense, but that’s precisely why they feel compelled to do it.  These are the kind of men that don’t want to ever admit that life got the best of them, continually staring death in the face and standing up to outlaws, thieves, and Indians, providing the kind of moral authority needed in a lawless land, where they also continually needle one another about each other’s supposed deficiencies, where their ongoing running commentary throughout the film is a thing of beauty rarely seen over such an extended period of time, initially shown over four consecutive nights in 90-minute installments.

Duvall is simply magnificent, an enthralling, wise-cracking character in nearly every shot throughout the entire ordeal, a guts and glory kind of guy (also a Captain) with endless stories to tell who literally commands the screen, where his enthusiasm and his zest for life endears him to the audience, continually charming his way into people’s hearts.  But much of the strength of this work lies in such well drawn out characters and the superb cast that brings them to life.  Robert Urich is Jake Spoon, another former Texas Ranger who rode with Gus and the Captain, but one who drifts and continually strays from moral virtue, displaying selfishness, greed, and weakness, allowing himself to get sucked into other people’s dirty business instead of standing up to it.  Diane Lane is Lorena (Lorie), a beautiful saloon girl who’s sick and tired of seeing the same do-nothing faces of the men in Lonesome Dove, a sleepy town where literally nothing ever happens, where she’s the only good thing to happen in the lives of the available men, but she is suffocating on the monotony of the dreary emptiness.  Ricky Schroder is Newt, most likely the Captain’s son, though he’s loathe to admit it, as his mother died years ago, but entering adulthood he’s still kept in the dark about who his real father may be.  Nonetheless he’s a handsome and likeable kid, a bit green under the collar, but game, the kind of guy who would always lend a helping hand.  Chris Cooper plays the good-natured Sheriff July Johnson from Fort Smith, Arkansas, the town where Jake Spoon accidentally kills a man, who turns out to be the Sheriff’s brother, returning back to Lonesome Dove after nearly a decade to ride out the storm hiding among friends.  Goaded by his pregnant wife Elmira (Glenne Headly) to take their young son on the trail as he tracks down Jake Spoon in Texas, Sheriff Johnson is sent on more than one wild goose chase, as after the Sheriff’s departure his wife immediately leaves town in search of the man she really loves, an outlaw named Dee Boot in Ogallala, Nebraska.  Danny Glover is Joshua Deets, a former slave, but also another former Texas Ranger and an expert tracker, one of the few men trusted by the Captain, a guy who affectionately looks after Newt, as seemingly none of the other men do.  And finally, though she doesn’t appear until the third episode, Anjelica Huston is Clara, the love of Gus’s life, the only woman he still pines over though he hasn’t seen her in a decade, a woman of regal stature who remains sassy and independent, refusing Gus’s earlier marriage proposals.   

What’s immediately clear is that the film doesn’t sugar coat history, where the Captain, despite his law abiding standing, sees little conflict when it comes to stealing horses or cattle from Mexicans across the border.  Despite tracking men down for this exact same crime over the course of their entire careers, Mexico is outside the jurisdiction of the United States, so apparently anything outside the law goes, where ironically the entire herd on this legendary drive consists of stolen Mexican cattle.  This reveals the state of mind of Texas Rangers, who had no problem using guns and brute strength to impose their will on others, much like the U.S. Cavalry was doing tracking down the last of the free Indians.  The cattle drive north takes place in 1876 shortly after the death of General Custer, in fact, exactly into the Montana territory of the Little Big Horn where the threat of Indians was everpresent, as Indians had collectively gathered in that region literally to make a last stand against the advancing encroachment of the whites.  While the drive slowly heads north, complete with wind and dust storms, not to mention lightning strikes, Jake has promised Lorie he’d take her to San Francisco, an offer that she leaped at, traveling close to the protection of the cattle men.  But Jake quickly grows tired of the monotony and leaves Lorie alone in search of a card game, where she’s quickly kidnapped by a murderous outlaw Indian named Blue Duck (Frederick Forrest—yes, another white guy in a wig), quickly turning this into a variation of THE SEARCHERS (1956), where Gus goes alone to track her down and bring her back alive.  Like a film within a film, this long and arduous journey coincides with Sheriff Johnson’s fruitless search for Jake and Elmira’s attempted escape north as well, all fraught with difficulties, unexpected horrors, senseless murders, and life threatening situations, where viewers develop a keen sense of how some outlaws, or those beyond the reach of the law, have such a low regard for life itself, routinely killing or brutalizing others for the sheer pleasure of it.  To survive in this vast wilderness outside the safe and supposedly “civilized” confines of the towns and cities required unusual fortitude, expert marksmanship, an ability to survive in the oppressive heat with little to no water, a clear head and a sharp mind, and a kind of fearlessness that doesn’t exist in the ordinary man.  This is what attracts us to a man like Augustus “Gus” McCrae, as despite his warm personal charm, it’s his qualities “outside” the laws of man that make him so endearing, the stuff of myth and legends, where it’s highly appealing to watch this man in action over the course of the entire mini-series.  His adventures carry with it a kind of Greek Odysseus heroicism, as his journey represents places we can only visit in our imaginations.      

Because of the historic setting, just at the time of Custer's last stand, the anxious tone of white settlers continually in fear of unforeseen Indian attacks does accurately represent the state of mind in the West at the time.  Nonetheless, this is hardly an accurate portrayal of Indians, again stereotypically seen as drunk, loco, excessively brutal, and heavily involved in the sex trade of white women (perhaps an idealization of the white male’s biggest fear), or Mexicans, viewed as a lawless nation mixing its citizens among our own, continually projected, along with the Indians, as horribly incompetent shooters, as both groups in the eyes of Texans in particular, are outsider groups known for creating havoc and unwarranted violence in the eyes of whites.  The tone of suspicion bordering on prejudice continues to this day, as Mexicans in Texas and the greater Southwest continue to be portrayed by politicians as illegals, un-American, second class citizens, and a threat to the freedoms of whites.  Unfortunately, this kind of racial perception was largely enhanced by the mythical view of the West, which projected brave men fighting and prevailing against insurmountable odds, where the enemy has been continually dehumanized through newspaper accounts or dime store novels over the course of a hundred years or more so that it has become ingrained and accepted as truth in mainstream American society.  This film makes no attempt to alter the prejudices or misconceptions, but instead uses many of the same deplorable Indian stereotypes seen in nearly all American Western movies, best typified by the great westerns of John Ford.  The real secret of the film’s remarkable success, however, is the strong and endearing characters, so unforgettably placed in the context of American history, making a compelling case for a re-examination of the fundamental principles of American society, many of which were fought over during the Civil War, needing reinforcement in the fragile and potentially vulnerable era afterwards, becoming more solidified over time when justice could finally eradicate the inherent lawlessness of the West.  Perhaps the highpoint of the film is the emotional payoff in the scene of Gus leaving Clara near the end of Pt. III, which is as melodramatic as anything seen in GONE WITH THE WIND (1939), a tearful and sweepingly majestic moment that defines how significant it was for there to be valiant men in the West, men of guts and honor and sacrifice, men who deserve to be loved and revered, not forgotten, as it was their vision of a free land that ultimately prevailed.